As Chip Heath & Dan Heath write in Switch: How to Change Things When Change is Hard, there is an emotional component to motivating people's behavior. Change happens not with the steps, ANALYZE-THINK-CHANGE, but more easily with SEE-FEEL-CHANGE. That's why I have delving so much into emotional connection and empathy in my explorations of Designing Games For Impact. For some behavior changes, the logic and argument for change is apparent, but there's an emotional block. In these cases, more information on how to change or more data won't have any effect. Inwardly, the person knows there's a very good reason to change, but still can't change the behavior. Very often, the person is reluctant because the person's identity is wrapped up in the behavior. Just how strong is the impact of identity?

The authors point to the well-known study, at least in our circles, of the efficacy of HopeLab's game Re-Mission. The intent of Re-Mission was to increase post-chemotherapy treatment compliance among teens. After each level of shooting tumor cells in the game, players would receive educational "briefings" about cancer and recovery. By playing through all 20 levels, the developers hoped teens would understand fully why they shouldn't falter in their treatment plans.

HopeLab at the Games For Change Festival 2013

Re-Mission did have its remarkable success and what was surprising that kids that played only 2 levels changed their behavior as much as kids who finished all 20 levels. Perhaps those educational "briefings" weren't that important after all? To puzzle out this mystery of behavior change, we should be looking at the identity switch that occurred in these teens. Kids who have gone through chemotherapy don't want to be that "sick kid" who has to keep on taking medication. Even though it was counterproductive, they didn't follow the treatment plan because they just wanted to be normal. In Re-Mission, though, they got to play a superhero who was actively eradicating cancer. The game empowered the teens and made them feel in control.

The next time you design a social impact game, think about the behavior change and how you want the player to feel. Is it connected to the player's identity? Is there an identity switch required for the person to activate that behavior change? Sometimes, we don't need more factoids or logical arguments. What we feel may be the biggest motivator of all.

Sande Chen is a writer and game
designer whose work has spanned 10 years in the industry. Her credits
include 1999 IGF winner Terminus, 2007 PC RPG of the Year The Witcher,
and Wizard 101. Sheis one of the founding members of the IGDA Game Design SIG.

Tuesday, November 14, 2017

Greetings! Our 3rd IGDA Game Design SIG (GDSIG) Mentor AMA (Ask Me Anything) in conjunction with the National STEM Video Game Challenge focused on game writing and featured questions from mentors and students around the United States, such as:

What is your biggest challenge in developing a video game, both in storyline and in general?

What are some key differences between a good and a bad narrative?

Where do you see virtual reality and augmented reality going, and how do you think this technology will change games and storytelling?

What are some ways a designer can tell a story in a game that gives the player opportunities to make real choices that genuinely affect the outcome of the game?

What would you say is the #1 pitfall in the design of serious games?

A full transcript of the questions, transcribed by volunteer Jam Blute, is available on the IGDA Game Design SIG Facebook groupFiles section, as well as sample game design documents. The GDSIG group is a closed Facebook group, but free and open to everyone, provided you follow the guidelines. The IGDA is an international, non-profit organization whose mission is to advance the careers and improve the lives of game developers.

The National STEM Video Game
Challenge is a multi-year competition whose goal is to motivate interest
in STEM learning among America’s youth by tapping into students’
natural passion for playing and making video games.

With Felix Wilhelmy as moderator, the guest panelists for the 3rd GDSIG Mentor AMA were Sheri Graner Ray, Bobby Stein, and Sande Chen.

Sheri Graner Ray is an award-winning game designer and CEO of ZombieCat Studios and worked for such companies as Schell Games, Origin, Sony Entertainment, and the Cartoon Network.

Bobby Stein is
the Associate Narrative Director and Narrative Design Lead at ArenaNet, the
maker of Guild Wars.

Sande Chenis a writer and game designer best known for her work
on titles such as The Witcher and Wizard 101.

We are continually striving to improve the Mentor AMAs. Let us
know if you have any feedback or if you'd like to participate as a volunteer or
mentor! Follow GDSIG on Twitter @IGDAGDSIG or on YouTube. We will be moving to video soon.

Thursday, November 2, 2017

In this article, game designer Sande Chen relates advice to parents and developers alike on how parents find age-appropriate and educational apps for children.

The latest research report from the Joan Ganz Cooney Center, "Discovering Kids' Apps: Do Family Strategies Vary By Income," centers on the decision process parents make in downloading educational apps. With so many free apps with dubious educational value, how is a parent to decide which apps are worthwhile? On the flip side, what information can educational app developers provide to aid in discoverability?

As indicated in What's Wrong with Pre-K Game Apps, the majority of children's apps do not have any kind of educational benchmark. Highly rated apps on sites like Common Sense Media, Parents' Choice, and Children's Technology Review may not correspond with app store rankings, consumer reviews, or featured app lists. Parents desire to know an app's age range or developmental stage focus, information that is often lacking in app store descriptions. Because of this, many parents, in particular those in middle and higher income levels, engage in "app trialing," in which they download the app first and play it before the child ever sees it. Lower income parents in the study tended to choose the educational apps to download whereas higher income parents were more likely to involve the child in the decision making process.

Whether due to virtual good concerns, freedom from ads, or a perceived higher educational value, higher income parents were more likely to purchase paid apps. Though there is no evidence that quality corresponds with price, many highly regarded apps do cost more. Lower income parents downloaded fewer apps overall and tended to prefer free apps. They also were more likely to depend on app store information rather than seeking out information on other sites. Among all income levels, parents relied heavily on "word of mouth" reviews from other parents, relatives, teachers, and friends.

Higher income parents expressed frustration with app store descriptions, feeling that they needed more guidance from educational experts. They wanted assurance of efficacy, which could have come from more prominent notice of research or recommendation.

With so much competition in the app store, particularly in Pre-K educational apps, developers know that they need to appeal to parents as well as kids. They can send off their apps for review to parent-friendly sites and they can provide the necessary information for parents to make informed decisions.

Sande Chen is a writer and game
designer whose work has spanned 10 years in the industry. Her credits
include 1999 IGF winner Terminus, 2007 PC RPG of the Year The Witcher,
and Wizard 101. Sheis one of the founding members of the IGDA Game Design SIG.